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Women Artists to Victims of War" - the First Exhibition of the Moscow Union of Women Painters and Its Reception by the Contemporary Press

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Women Artists to Victims of War Artl@s Bulletin Volume 8 Issue 1 Women Artists Shows.Salons.Societies Article 7 (1870s-1970s) 2019 "Women Artists to Victims of War" - the First Exhibition of the Moscow Union of Women Painters and its Reception by the Contemporary Press. Natalia Y. Budanova CCRAC, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the Fine Arts Commons, and the Women's Studies Commons Recommended Citation Budanova, Natalia Y.. ""Women Artists to Victims of War" - the First Exhibition of the Moscow Union of Women Painters and its Reception by the Contemporary Press.." Artl@s Bulletin 8, no. 1 (2019): Article 7. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. "Women Artists to Victims of War" - the First Exhibition of the Moscow Union of Women Painters and its Reception by the Contemporary Press. Cover Page Footnote This essay is an extended version of the paper the author presented at the symposium "WAS(Women Artists Shows-Salons-Societies) organised by the research laboratory Artl@s École normale supérieure, PSL, Labex TransferS) and by AWARE, with the collaboration of Jeu de Paume in December 2017. The uthora also would like to express her gratitude to Z. P. Shergina, Director and other members of the stuff of the rT etyakov Library, Moscow for their support in locating primary sources for this research project. This article is available in Artl@s Bulletin: https://docs.lib.purdue.edu/artlas/vol8/iss1/7 W.A.S. (1870s-1970s) Women Artists to Victims of War – The First Exhibition of the Moscow Union of Women Painters and its Reception by the Contemporary Press Natalia Budanova * Cambridge Courtauld Russian Art Centre (CCRAC, UK) Abstract A few surviving visual and documentary sources related to the exhibition Women Artists to Victims of War organised by the Moscow Union of Women Painters in winter 1914 represent a useful primary material for piecing together fragments of the history of this short-lived female art group. The Union exemplified impressive gender changes in edu- cational and professional spheres of Russian art. Yet, it failed to attract strong member- ship and disintegrated a few years after its institution. By analysing available evidence, this essay seeks to uncover and assess the causes of the Union’s defeat in establishing a prominent public profile. Résumé Les quelques éléments visuels et documentaires qui subsistent à propos de l’exposition Women Artists to Victims of War, organisée par l’Union moscovite des femmes peintres à l’automne 1914, représentent une source primaire de documentation utile pour recons- tituer les fragments de l’histoire de ce groupe artistique féminin éphémère. L’Union at- teste les changements importants concernant les questions de genre au sein des sphères professionnelles et académiques de l’art russe. Cependant, elle a échoué à susciter une forte adhésion et fut dissoute quelques années seulement après son institution. En analy- sant les témoignages disponibles, cet essai s’attache à mettre au jour et à évaluer les causes de l’échec de l’Union à établir sa légitimité auprès du public. * Dr Natalia Budanova, MA (Cambs), MA (Courtauld), PhD (Courtauld) is a UK-based independent art historian and a member of CCRAC (Cambridge Courtauld Russian Art Centre) advisory board. Her research and publications engage in investigating the role of women in Russian art of the late Impe- rial and early Soviet periods, patterns of artistic exchange between Russia and the West, and the art of the Great War. 108 ARTL@S BULLETIN, Vol. 8, Issue 1 (Spring 2019) Budanova – Women Artists to Victims of War Introduction introducing and analysing primary documentary and visual material concerning the society’s first On 5 January 1915 the Moscow-based newspaper exhibition, Women Artists to Victims of War, which Russkie Vedomosti (Russian Journal) informed its the author discovered in the Library of the State readers that the Moscow Union of Women Painters, Tretiakov Gallery in Moscow and until now has a recently established art society, opened its first remained largely disregarded. In doing so it also exhibition, entitled Women Artists to Victims of War. endeavours to evaluate the story of the Moscow According to the article’s anonymous author, the Union of Women Painters in relation to gender- Moscow Union of Women Painters was set up in sensitive attitudes at work in the Russian art world Moscow in May 1914 by the constituent assembly, of the late Imperial period. although its first general meeting had not taken place until October 1914.1 This piece of news remains one of the few known direct references to The Predecessors the Union and its activities. The Moscow Union of Women Painters was not the No file containing constitutional or any other first female art organisation to be founded in Russia documents related to the Moscow Union of Women as it was preceded by two other societies, both Painters has yet been discovered in archives or based in St Petersburg, then the capital of Russian elsewhere. Therefore, piecing together coherent Empire. The oldest, called the First Ladies’ Art chronicle of the group represents a considerable Circle (Pervyi damskii khudozhestvennyi kruzhok), challenge. In point of fact, the Moscow Union of was set up by a group of aristocratic women in Women Painters has been very rarely, if ever, February 1882 and aimed at “artistic development mentioned in modern art historical literature in in general, while also offering assistance to needy Russia or abroad. The only available account is a artists and their families.”3 The main drawing force short entry in the book The Golden Age of Art Unions in establishing the Ladies’ Art Circle was its first in Russia and the USSR (1820-1932), published in Chairwoman Pelageia Kuriar (1848-1898), a Russia in 1992.2 According to this authoritative landscape painter of noble background, who was a survey, the Union accepted both professional regular participant in the Imperial Academy’s and amateur women artists, numbering 36 full annual exhibitions and held the title of the members by 1915. The same year it set up a Academy’s honorary associate. studio, which ran art classes twice a week. It also organised a series of lectures on art history and The Ladies’ Circle acted under the patronage of the held family evening parties each Friday. Regret- Imperial Family, and the majority of its members tably, the only historical source of reference, were women of St Petersburg’s high-society, whose provided by the authors of the book, Dmitrii artistic skills and tastes were cultivated as an inte- Severiukhin and Oleg Leikind, was the above- gral part of a gentlewoman’s proper upbringing. mentioned article in Russkie Vedomosti, wherefore The Circle held weekly meetings with painting and it remains unclear where the factual information drawing classes under the supervision of promi- came from. nent male professional painters. It also organised annual exhibitions, usually at Easter time, inviting This essay aims to extend art historical knowledge up to 100 contributors to take part. Five percent about the Moscow Union of Women Painters by of all exhibition proceeds were donated to the Note on translation and transliteration. Unless otherwise indicated, all translations are mine. The transliteration of Russian names and words observes the form used by 1 Anon., ‘Zhenskaia vystavka’ (Women’s exhibition), Russkie vedomosti (Russian the Library of Congress. However, the spelling of some famous names follows long- Journal), 5 January 1915 (#4). established tradition—for example, Mayakosky (not Maiakovskii), Olga (not Ol’ga), 2 Dmitrii Severiukhin, Oleg Leikind, Zolotoi vek khudozhestvennykh ob”edinenii v Rossii and Tretyakov (not Treti’akov) Gallery. Surnames of foreign origin are transliterated i SSSR (1820–1932) (The Golden Age of Art Unions in Russia and the USSR, (1820-1932)) here on the bases of their Russian form, including Aleksandr Benua (not Alexander (St Petersburg: Izdatel’stvo Chernisheva, 1992), 132. Benois), Princess Evgeniia Ol’denburgskaia (not Eugenia of Oldenburg), Emilia Shanks 3 Statute of the First Ladies’ Art Circle, 2 March 1884. (not Emily Shanks), and the Lemers’e Gallery (not the Lemercier Gallery). W.A.S. (1870s-1970s) 109 ARTL@S BULLETIN, Vol. 8, Issue 1 (Spring 2019) Budanova – Women Artists to Victims of War society’s charitable fund. The participation in these Imperial patronage, did nothing to sooth the exhibitions was not limited to only amateur traditionally vexed question of women as valid art women painters and members of the circle. Some creators. If anything it ultimately served to add prominent professional artists—men as well as further controversy to the problem. While reports women—were also invited to contribute their of its annual exhibitions were duly released in the works. Among the affirmed women painters who contemporary press, the amateurish quality of regularly participated in the Circle’s annual works produced by the Circle’s fellow members exhibitions, to name just a few, were Elizaveta Bem was often sharply criticised by art professionals, (1843-1914)—a painter and prolific illustrator thus reinforcing prejudices against the “lady artist” of children’s books; Elena Samokish-Sudkovskaia as an idle wealthy woman engaging with visual arts (1863-1924)—a successful illustrator and poster for the own amusement. For instance, Aleksandr artist; and Princess Maria Tenisheva (1858-1928) Benua (1870-1960), a prominent artist, art critic —an enamel artist, patron, educator and art and founding member of World of Art Group, collector.
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